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BRIDGE ORCHESTRAL WORKS The Collector’s Edition Sarah Connolly mezzo-soprano Howard Shelley piano Philip Langridge tenor BBC National Chorus of Wales Roderick Williams baritone BBC National Orchestra of Wales Alban Gerhardt cello Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Frank Bridge (1879 – 1941) COMPACT DISC ONE 1 Enter Spring, H 174 (1926 – 27) 18:36 Rhapsody Allegro moderato – Tempo giusto – Andante tranquillo – Tempo I – Energico – Andante molto tranquillo 2 Isabella, H 78 (1907) 18:00 Symphonic Poem after Keats Adagio ma non troppo – Allegretto moderato – L’istesso tempo – Allegro vivo – Adagio ma non troppo – Più adagio Two Poems for Orchestra, H 118 (1915) 12:58 after Richard Jefferies 3 I Andante moderato e semplice 8:35 4 II Allegro con brio 4:18 premiere recording 5 Mid of the Night, H 30 (1903) 26:05 Symphonic Poem for Orchestra Andante – Allegro moderato – Poco più vivo – Andante moderato – Allegro moderato – Andante moderato – Più lento TT 75:47 3 COMPACT DISC TWO premiere recording in this version 1 Dance Rhapsody, H 84 (1908) 19:16 for orchestra Allegro energico – Moderato – Allegretto moderato – Tempo di valse – Vivo – Allegro energico Five Entr’actes, H 95 (1910) 12:05 from the play The Two Hunchbacks by Émile Cammaerts (1878 – 1953) for orchestra 2 I Prelude to Act I. Allegretto moderato – Lento 3:20 3 II Intermezzo from Act II. Andantino 1:36 4 III Intermezzo from Act III. Allegretto (marziale) 1:19 5 IV Prelude to Act III. Lento 2:36 6 V Entr’acte between Acts II and III. Moderato 3:04 7 Dance Poem, H 111 (1913) 13:48 for orchestra Tempo di valse – Lento e languido – Tempo di valse – Largamente – Grazioso – Tempo di valse – A tempo, poco lento – Vivo – Presto 4 8 Norse Legend, H 60 (1905 / 1938) 4:48 for small orchestra Andante con moto The Sea, H 100 (1910 – 11) 22:08 Suite for Orchestra 9 1 Seascape. Allegro ben moderato 7:14 10 2 Sea-Foam. Allegro vivo 2:23 11 3 Moonlight. Adagio ma non troppo 5:50 12 4 Storm. Allegro energico – Allegro moderato e largamente 6:33 TT 72:34 COMPACT DISC THREE premiere recording 1 Coronation March, H 97 (1911) 6:49 Tempo di marcia, maestoso – L’istesso tempo ma poco largamente – Allargando – Tempo I 2 Summer, H 116 (1914 – 15) 10:42 Tone Poem for Orchestra Andante ben moderato – A tempo ben moderato e tranquillo – Animato – Tempo I ma poco tranquillo 5 3 Phantasm, H 182 (1931)* 24:21 Rhapsody for Piano and Orchestra Allegro moderato – Allegretto molto moderato – Lento e tranquillo – Allegro moderato – Andante molto moderato – Allegro moderato – A tempo energico e ritmico – Ben marcato – A tempo giusto – Andante – Allegro 4 There Is a Willow Grows aslant a Brook, H 173 (1927) 11:19 Impression for Small Orchestra Adagio e tranquillo – Poco allegretto – A tempo I – Animato appassionato e rubato – Tempo I ma poco più largamente e sostenuto – Lamentoso – Più tranquillo Vignettes de danse, H 166 (1938) 11:21 for Small Orchestra 5 I Nicolette. Andante moderato – Allegretto moderato – Andante – Allegretto – A tempo poco animato – Moderato – Lento 3:13 6 II Zoraida. Allegretto molto moderato 3:40 7 III Carmelita. Con brio – Grazioso – A tempo con brio 4:19 6 premiere recording in this version 8 Sir Roger de Coverley (A Christmas Dance), H 155 (1922) 4:41 for Large Orchestra Allegro con spirito – Tempo risoluto e più animato TT 69:51 COMPACT DISC FOUR premiere recording on CD 1 Rebus, H 191 (1940) 10:44 Overture for Orchestra Allegro deciso – Poco moderato – Tempo giusto – Ben ritmico – Tempo I – Moderato – Largamente – Moderato – Poco moderato – Allegro vivo 2 Oration (Concerto elegiaco), H 180 (1929 – 30)† 29:17 for Solo Cello and Orchestra Poco lento – Lento e ritmico – Allegro – Ben moderato (poco lento) – Poco lento – Allegro giusto – Tranquillo – Ben moderato, mesto e tranquillo – Cadenza – Allegro – Lento – Epilogue. Andante tranquillo 3 Allegro moderato, H 192 (1940 – 41) 13:24 Fragment of a symphony for string orchestra Edited by Anthony Pople Allegro moderato – Animato e deciso – Moderato – Poco largamente – Tranquillo – [Animato e deciso] – Allegro deciso – Meno mosso 7 4 Lament, H 117 (1915) 5:19 for String Orchestra Catherine, aged 9, ‘Lusitania’ 1915 Adagio, con molto espressione – Poco più adagio 5 A Prayer, H 140 (1916 – 18)‡ 17:55 for Chorus and Orchestra Andante moderato – Allegro moderato – Poco allargando – Più lento e largamente – A tempo moderato – Poco animato – Tempo I – Tranquillo – A tempo I – Tempo I ma tranquillo TT 77:01 COMPACT DISC FIVE Suite for Strings, H 93 (1909 – 10) 21:03 1 I Prelude. Moderato – Un pochettino maestoso – Allegro ma non troppo – Tempo I, tranquillo – Meno mosso e tranquillo 7:33 2 II Intermezzo. Allegretto grazioso 3:27 3 III Nocturne. Adagio molto – Un pochettino animato – Tempo I 6:09 4 IV Finale. Allegro vivo – Poco meno mosso – Tempo I 3:45 8 premiere recording 5 The Hag, H 14 (1902)§ 2:25 Song for Baritone and Orchestra Allegro molto premiere recording Two Songs of Robert Bridges, H 65 (1905 – 06)§ 6:32 for Baritone and Orchestra 6 1 I praise the tender flower, H 65a. Andante moderato – Pochettino più mosso – Tempo I 3:13 7 2 Thou didst delight my eyes, H 65b. Allegro appassionato – Moderato 3:16 Two Intermezzi from ‘Threads’, H 151 (1921 / 1938) 8:33 8 I Andante molto moderato e tranquillo 3:53 9 II Tempo di valse – Animato 4:38 Two Old English Songs, H 119 (1916) 7:30 Arranged for String Orchestra 10 Sally in Our Alley. Andante con moto – Poco tranquillo – Tempo I 4:19 11 Cherry Ripe. Allegretto con moto 3:11 9 Two Entr’actes (1906, 1926) 6:38 12 I Rosemary, H 68b. Andante espressivo e molto rubato – Allegro – Tempo I ma poco più tranquillo 3:54 13 II Canzonetta, H 169. Allegretto molto moderato e rubato – Allegro con moto – Tempo I 2:42 14 Valse Intermezzo à cordes, H 17 (1902) 6:49 No. 2 from Four Pieces for String Orchestra assembled and arranged by Paul Hindmarsh Moderato – Valse lente – Coda premiere recording 15 Todessehnsucht, H 181 (1932 / 1936) 3:53 Arrangement for string orchestra of Komm, süßer Tod, BWV 478, from Schemelli’s Musicalisches Gesang-Buch, by Johann Sebastian Bach (1685 – 1750) Lento e sostenuto – Poco più andante ma sostenuto – Largamente 16 Sir Roger de Coverley (A Christmas Dance), H 155 (1922 / 1939) 4:24 for Strings Allegro con spirito – Tempo risoluto TT 68:17 10 COMPACT DISC SIX premiere recording 1 Blow out, you bugles, H 132 (1918)# 5:37 for tenor and orchestra Allegro moderato e risoluto – Lento – Andante moderato – Andante ben moderato – Andante moderato – Recit[ando] – Andante ben moderato – Allegro, ma non troppo – Largamente – Maestoso premiere recording 2 Adoration, H 57 (1905 / 1918)# 2:55 for tenor and orchestra Molto adagio – Adagio ma non troppo – Poco a poco animato – A tempo, largamente premiere recording 3 Where she lies asleep, H 113 (1914)# 3:01 for tenor and orchestra Andante ben moderato premiere recording 4 Love went a-riding, H 114 (1914)# 1:40 for tenor and orchestra Allegro 11 premiere recording 5 Thy hand in mine, H 124 (1917 / 1923)# 2:10 for tenor and orchestra Andante moderato premiere recording 6 Berceuse, H 9 (1901)¶ 5:06 for soprano and orchestra Andante con moto – Poco più mosso – Tempo I premiere recording 7 Mantle of blue, H 131 (1918 / 1934)¶ 2:47 for high voice and orchestra Andante ben moderato – Tranquillo – A tempo 8 Day after day, H 164i (1922)¶ 4:55 for mezzo-soprano and orchestra Lento ma non troppo – Andante moderato – Poco animato – A tempo moderato – A tempo con moto ma tranquillo – Poco animato – A tempo moderato – Molto sostenuto 9 Speak to me, my love!, H 164ii (1924)¶ 5:56 for mezzo-soprano and orchestra Andante moderato – Poco a poco animato – Tempo I, ma calmato – Allegro con moto – Tempo I, ma tranquillo – Poco a poco con anima – Allegro animato – Moderato – A tempo tranquillo 12 10 Berceuse, H 8 (1901 / 1902 / 1928) 3:23 Andante con moto – Poco più mosso – Tempo I premiere recording 11 Chant d’espérance, H 18ii (1902) 3:40 No. 2 from Trois Morceaux d’orchestre Allegro moderato – Presto 12 Serenade, H 23 (1903) 2:51 Allegro grazioso – Meno mosso – Più animato – Meno mosso – Tempo I – Presto premiere recording The Pageant of London, H 98 (1911) 15:08 Suite for wind orchestra 13 I Solemn March ‘Richard III leaving London’. Tempo di marcia ma maestoso 4:41 II First Discoveries 14 1. Introduction. Moderato 2:01 15 2. Pavane. Moderato 1:49 16 3. La Romanesca [a Galliard]. Allegretto 1:04 17 III March ‘Henry VIII entering London’. Allegro marziale 5:33 13 premiere recording 18 A Royal Night of Variety, H 184 (1934) 1:27 Epilogue for orchestra Allegro moderato – Tranquillo – Moderato TT 61:14 Sarah Connolly mezzo-soprano¶ Philip Langridge tenor# Roderick Williams baritone§ Alban Gerhardt cello† Howard Shelley piano* BBC National Chorus of Wales‡ Adrian Partington chorus master BBC National Orchestra of Wales Nicholas Whiting (CD 1) • Janice Graham (CD 2, CD 3) • Lucy Gould (CD 4) James Clark (CD 5) • Lesley Hatfield (CD 6) leaders Richard Hickox 14 Bridge: Complete Orchestral Works Volume 1 Comes the mid of the night, ends for a while Frank Bridge (1879 – 1941) made his name the brooding, in Edwardian England as a chamber musician Up from the depths of the soul memories well and composer. He was admired for his songs into life. and piano miniatures, and for his tuneful Emblazened [sic] against the night more and chamber music which was described by his more real they are growing; pupil Benjamin Britten as being ‘easy on the Comes the approach of dawn and they die in ear and grateful to play’.
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  • A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong

    A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong

    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt Keith Thomas Johns University of Wollongong Recommended Citation Johns, Keith Thomas, A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/1927 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] A STRUCTURAL ANALYSIS OF THE RELATIONSHIP BETWEEN PROGRAMME, HARMONY AND FORM IN THE SYMPHONIC POEMS OF FRANZ LISZT. A thesis submitted in fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by KEITH THOMAS JOHNS (M.Litt.,B.A.Hons.,Grad.Dip.Ed., F.L.C.M., F.T.C.L., L.T.C.L. ) SCHOOL OF CREATIVE ARTS 1986 i ABSTRACT This thesis examines the central concern in an analysis of the symphonic poems of Franz Liszt, that is, the relationship between programme,harmony and form. In order to make a thorough and clear analysis of this relationship a structural/semiotic analysis has been developed as the analysis of best fit. Historically it has been fashionable to see Liszt's symphonic poems in terms of sonata form or a form only making sense in terms of the attached programme. Both of these ideas are critically examined in this analysis.